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Sample Odyssey Passage
The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country. -
The-Odyssey-Greek-Translation.Pdf
05_273-611_Homer 2/Aesop 7/10/00 1:25 PM Page 273 HOMER / The Odyssey, Book One 273 THE ODYSSEY Translated by Robert Fitzgerald The ten-year war waged by the Greeks against Troy, culminating in the overthrow of the city, is now itself ten years in the past. Helen, whose flight to Troy with the Trojan prince Paris had prompted the Greek expedition to seek revenge and reclaim her, is now home in Sparta, living harmoniously once more with her husband Meneláos (Menelaus). His brother Agamémnon, commander in chief of the Greek forces, was murdered on his return from the war by his wife and her paramour. Of the Greek chieftains who have survived both the war and the perilous homeward voyage, all have returned except Odysseus, the crafty and astute ruler of Ithaka (Ithaca), an island in the Ionian Sea off western Greece. Since he is presumed dead, suitors from Ithaka and other regions have overrun his house, paying court to his attractive wife Penélopê, endangering the position of his son, Telémakhos (Telemachus), corrupting many of the servants, and literally eating up Odysseus’ estate. Penélopê has stalled for time but is finding it increasingly difficult to deny the suitors’ demands that she marry one of them; Telémakhos, who is just approaching young manhood, is becom- ing actively resentful of the indignities suffered by his household. Many persons and places in the Odyssey are best known to readers by their Latinized names, such as Telemachus. The present translator has used forms (Telémakhos) closer to the Greek spelling and pronunciation. -
Another Penelope: Margaret Atwood's the Penelopiad
Monica Bottez ANOTHER PENELOPE: MARGARET ATWOOD’S THE PENELOPIAD Keywords: epic; quest; hybrid genre; indeterminacy; postmodernism Abstract: The paper sets out to present The Penelopiad as a rewriting of Homer’s Odyssey with Penelope as the narrator. Using the Homeric intertext as well as other Greek sources collected by Robert Graves in his book The Greek Myths and Tennyson‟s “Ulysses,” it evidences the additions that the new narrative perspective has stimulated Atwood to imagine. The Penelopiad is read as propounding a new genre, the female epic or romance where the heroine’s quest is analysed on analogy with the traditional romance pattern. The paper dwells on the contradictory and parody- like versions of events and characters embedded in the text: has Penelope been the perfect patient devoted wife, a cunning lustful pretender, or the High Priestess of an Artemis cult? In conclusion, the reader can never know the truth, being tied up in the utterly puzzling indeterminacy of meaning specific to postmodernism. The title of Margaret Atwood‟s novella makes the reader expect a rewriting of Homer‟s Odyssey, which is precisely what the author does in order to enrich it with new interpretations; since myths and legends are the repository of our collective desires, fears and longings, their actuality can never be exhausted: Atwood has used mythology in much the same way she has used other intertexts like folk tales, fairy tales, and legends, replaying the old stories in new contexts and from different perspectives – frequently from a woman‟s point of view – so that the stories shimmer with new meanings. -
A Level Classical Civilisation Candidate Style Answers
Qualification Accredited A LEVEL Candidate style answers CLASSICAL CIVILISATION H408 For first assessment in 2019 H408/11: Homer’s Odyssey Version 1 www.ocr.org.uk/alevelclassicalcivilisation A Level Classical Civilisation Candidate style answers Contents Introduction 3 Question 3 4 Question 4 8 Essay question 12 2 © OCR 2019 A Level Classical Civilisation Candidate style answers Introduction OCR has produced this resource to support teachers in interpreting the assessment criteria for the new A Level Classical Civilisation specification and to bridge the gap between new specification’s release and the availability of exemplar candidate work following first examination in summer 2019. The questions in this resource have been taken from the H408/11 World of the Hero specimen question paper, which is available on the OCR website. The answers in this resource have been written by students in Year 12. They are supported by an examiner commentary. Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible mark/level for each response, when marking these answers in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the marks/levels awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
Download Circe and Odysseus in Ancient
Circe and Odysseus in Ancient Art This resource offers a series of questions that will help students engage with four ancient artifacts that represent the goddess Circes interactions or influences upon Odysseus and his companions. All these artifacts were made several centuries after the Odyssey was composed, but they should not be approached as straightforward or mere illustrations of episodes from the Odyssey. Rather, all five works of art (four artifacts and the epic poem) represent different versions of the story of how Circe interacts with Odysseus and his men. This resource assumes that students already will have read Books 9 and 10 of the Odyssey. This handout is formatted as a guide that an instructor can use to facilitate a conversation during a class meeting. The questions are meant to be asked by the instructor while students actively look at images of each artifact, using the weblinks provided. After each question, examples of possible observations that students might offer are included in italics. The italicized answers also sometimes include extra information that the instructor can share. Artifact #1: A kylix (drinking cup) at the Museum of Fine Arts (Boston) Attributed to the Painter of the Boston Polyphemos Made in Athens (Attica, Greece) ca. 550-525 BCE https://collections.mfa.org/objects/153469/drinking-cup-kylix-depicting-scenes-from-the- odyssey;jsessionid=31E168DC9A32CBB824DCBBFFA1671DC1?ctx=bb1a3a19-ebc8-46ce-b9b1- 03dc137d5b86&idx=1 Accession number 99.518 1. We are going to look at both sides of this kylix, but we will begin with the first image on the website (“Side A” of the kylix, which does not include anyone holding a shield). -
THE ODYSSEY of HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD and in NEW YORK by E·P·DUTTON & CO to the RIGHT HONOURABLE
THE ODYSSEY OF HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD AND IN NEW YORK BY E·P·DUTTON & CO TO THE RIGHT HONOURABLE COUNTESS DOWAGER SPENCER THE FOLLOWING TRANSLATION OF THE ODYSSEY, A POEM THAT EXHIBITS IN THE CHARACTER OF ITS HEROINE AN EXAMPLE OF ALL DOMESTIC VIRTUE, IS WITH EQUAL PROPRIETY AND RESPECT INSCRIBED BY HER LADYSHIP’S MOST DEVOTED SERVANT, THE AUTHOR. THE ODYSSEY OF HOMER TRANSLATED INTO ENGLISH BLANK VERSE BOOK I ARGUMENT In a council of the Gods, Minerva calls their attention to Ulysses, still a wanderer. They resolve to grant him a safe return to Ithaca. Minerva descends to encourage Telemachus, and in the form of Mentes directs him in what manner to proceed. Throughout this book the extravagance and profligacy of the suitors are occasionally suggested. Muse make the man thy theme, for shrewdness famedAnd genius versatile, who far and wideA Wand’rer, after Ilium overthrown,Discover’d various cities, and the mindAnd manners learn’d of men, in lands remote.He num’rous woes on Ocean toss’d, endured,Anxious to save himself, and to conductHis followers to their home; yet all his carePreserved them not; they perish’d self-destroy’dBy their own fault; infatuate! who devoured10The oxen of the all-o’erseeing Sun,And, punish’d for that crime, return’d no more.Daughter divine of Jove, these things record,As it may please thee, even in our ears.The rest, all those who had perdition ’scapedBy war or on the Deep, dwelt now at home;Him only, of his country and his wifeAlike desirous, in her hollow grotsCalypso, Goddess beautiful, detainedWooing him to her arms. -
Circe Readers' Guide
Women’s Prize for Fiction 2019 Reading Group Guide Circe Also by Madeline Miller: by Madeline Miller The Song of Achilles (2011) Bloomsbury Publishing About the book In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe has neither the look nor the voice of divinity, and is scorned and rejected by her kin. Increasingly isolated, she turns to mortals for companionship, leading her to discover a power forbidden to the gods: witchcraft. When love drives Circe to cast a dark spell, wrathful Zeus banishes her to the remote island of Aiaia. There she learns to harness her occult craft, drawing strength from nature. But she will not always be alone; many are destined to pass through Circe’s place of exile, entwining their fates with hers. The messenger god, Hermes. The craftsman, Daedalus. A ship bearing a golden fleece. And wily Odysseus, on his epic voyage home. There is danger for a solitary woman in this world, and Circe’s independence draws the wrath of men and gods alike. To protect what she holds dear, Circe must decide whether she belongs with the deities she is born from, or the mortals she has come to love. About the author Madeline Miller is the author of The Song of Achilles, which won the Orange Prize for Fiction 2012, was shortlisted for the Stonewall Writer of the Year 2012, was an instant New York Times bestseller, and was translated into twenty-five languages. Madeline holds an MA in Classics from Brown University, and she taught Latin, Greek and Shakespeare to high school students for over a decade. -
Inspire Me, Athena, Goddess of Wisdom. Help Me Tell the Story of Odysseus, the Clever Hero Who Traveled Far and Wide After He Ransacked the Famous City of Troy
Inspire me, Athena, Goddess of Wisdom. Help me tell the story of Odysseus, the clever hero who traveled far and wide after he ransacked the famous city of Troy. He suffered greatly at sea, fighting for his life and the lives of his men, hop- ing for a safe homecoming. But he could not save his companions, as hard as he tried. The Greek warriors who escaped sudden death in battle or shipwreck sailed for home. They conquered Troy and were now out of harm’s way . except Odysseus. He longed to return to his wife and country. But the bewitching goddess Calypso held him back. She kept Odysseus in her cave, hoping to have him as her husband. All the gods took pity on Odysseus, except Poseidon, god of the earth-circling sea, who seethed with unending anger. Poseidon was determined not to let him get home. But Poseidon had gone to visit the Ethiopians, at the 1 2 HOMER end of the world. While he was off enjoying him- self, the other gods met in the house of Zeus. Since he was the father of gods and men, Zeus spoke first. He was thinking of one of his favorites, Aegisthus, who had been killed by Agamemnon’s son Orestes, “Why do men blame the gods for their own foolishness? Aegisthus could not resist making love to Agamemnon’s wife. Then he killed Agamem- non, though he knew it meant his own death. I even sent Hermes, messenger of the gods, to warn Aegisthus. Agamemnon’s son, Orestes, was sure to take revenge when he grew up and wanted to return home. -
A Reading of the Comic Elements in James Joyce's Exiles: the Bergsoni·An Clown in the Dionysian Vineyard
A READING OF THE COMIC ELEMENTS IN JAMES JOYCE'S EXILES: THE BERGSONI·AN CLOWN IN THE DIONYSIAN VINEYARD By SANDRA MANOOGIAN PEARCE II Bachelor of Arts Colby College Waterville, Maine 1972 Master of Science University of Southern Maine Portland/Gorham, Maine 1975 Submitted to the Faculty of the Graduate College of the Oklahoma State· University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY July, 1988 -rhes\s · l '1 ~ 8\::> ? "3 S"'i1'" ~O'f· ~ · .. ·.". A READING OF THE COMIC ELEMENTS IN JAr.ms JOYCE'S EXILES: THE BERGSONIAN CLOWN IN THE DIONYSIAN VINEYARD Thesis Approved: :t. d){)M_.Jt..-1 - ii 1322543 ACKNOWLEDGMENTS Foremost, I wish to thank my dissertation chairman, Dr. Ed Walkiewicz. Despite the pressures of many pending student papers and a newborn son, Dr. Walkiewicz always found time for me. He returned my chapters with not only remarkable speed, but more importantly with precise and professional editing, contributing significantly to the content and readability of this study. His gentle tact and seemingly limitless expanse of knowledge made the nearly impossible an achievable task. A large portion of the success of this study is due to Dr. Walkiewicz's hand; the faults to my own. I also want to extend my sincere appreciation to the members of my examination committee for their helpful comments: Dr. Tom Warren for his continued sense of good humor and support, Dr. Mary Rohrberger for her willingness to join the committee at such a late date, and Dr. Ed Lawry for his insightful and kind comments as the outside member. -
Close Reading of Book Nine, “In the OneEyed Giant’S Cave,” Pp
Book Nine Handout The events in Books Nine through Twelve are flashbacks being told to the Phaeacians by Odysseus himself. The events of these books reveal how the trials Odysseus faces develop his character from the end of the Trojan War through his time with the Phaeacians. Activity 1: Text Structure One feature of the epic is beginning in the middle of the story (in medias res). Study the graphic below so that you will understand the text structure. What is the effect of Homer’s choice concerning how to structure a text and the events within it? By beginning in the middle of things, the reader’s interest is piqued. It seems strange that such a famous warrior should be crying for home. Knowing how Odysseus’s men ended up creates suspense, compelling the reader to continue in the story. Activity 2: Close Reading of Book Nine, “In the OneEyed Giant’s Cave,” pp. 211214 Read the opening passage of Book Nine, which is reprinted for you below. Some lines have been removed, but the line numbers follow the original text. Follow the instructions below as you annotate: 1. For your first reading, define the terms that have been bolded for you. Write a synonym or definition directly above the bolded word. 2. For your second reading, use a handbook of mythological terms, the glossary of terms in the back of your text, or the Internet to look up background information for the shaded terms. Write the explanation directly above the term. 3. Finally, use the questions on the right side of the text to guide you as you record your insights and impressions about the text. -
The World of Odysseus M
THE WORLD OF ODYSSEUS M. I. FINLEY INTRODUCTION BY BERNARD KNOX Chapter 3: WEALTH AND LABOUR 6/19/17, 1245 PM Chapter 3 WEALTH AND LABOUR In the second book of the Iliad the poet catalogues the contending hosts, in the case of Greeks by the names of their chief leaders and the number of ships each brought with him. 'But the multitude (i.e. the commoners] I could not relate nor name, not if I had ten tongues, nor ten mouths' (II 488-9). The list totals 1186 ships, which, at a minimum computation, means over 60,000 men, a figure as trustworthy as the 400,000 Saracens of the Song of Roland. The world of Odysseus was a small one in numbers of people. There are no statistics and no ways of making good guesses, but the five-acre sites of the archaeologists, together with what is known from later centuries, leave no doubt that the populations of the individual communities were to be reckoned in four figures, often even in three, and that the numbers in the poems, whether of ships or flocks or slaves or nobles, are unrealistic and invariably err on the side of exaggeration. One of the smallest contingents in the catalogue of ships was led by Odysseus, a mere twelve (Agamemnon had one hundred and provided sixty others for the inland Arcadians). He is announced as king of the Cephallenians, who inhabit three adjacent islands in the Ionian Sea, Cephallenia, Ithaca, and Zacynthus, together with two sites apparently on the near-by mainland. -
Lives in Poetry
LIVES IN POETRY John Scales Avery March 25, 2020 2 Contents 1 HOMER 9 1.1 The little that is known about Homer's life . .9 1.2 The Iliad, late 8th or early 7th century BC . 12 1.3 The Odyssey . 14 2 ANCIENT GREEK POETRY AND DRAMA 23 2.1 The ethical message of Greek drama . 23 2.2 Sophocles, 497 BC - 406 BC . 23 2.3 Euripides, c.480 BC - c.406 BC . 25 2.4 Aristophanes, c.446 BC - c.386 BC . 26 2.5 Sapho, c.630 BC - c.570 BC . 28 3 POETS OF ANCIENT ROME 31 3.1 Lucretius, c.90 BC - c.55 BC . 31 3.2 Ovid, 43 BC - c.17 AD . 33 3.3 Virgil, 70 BC - 19 AD . 36 3.4 Juvenal, late 1st century AD - early 2nd century AD . 40 4 THE GOLDEN AGE OF CHINESE POETRY 45 4.1 The T'ang dynasty, a golden age for China . 45 4.2 Tu Fu, 712-770 . 46 4.3 Li Po, 701-762 . 48 4.4 Li Ching Chao, 1081-c.1141 . 50 5 JAPANESE HAIKU 55 5.1 Basho . 55 5.2 Kobayashi Issa, 1763-1828 . 58 5.3 Some modern haiku in English . 60 6 POETS OF INDIA 61 6.1 Some of India's famous poets . 61 6.2 Rabindranath Tagore, 1861-1941 . 61 6.3 Kamala Surayya, 1934-2009 . 66 3 4 CONTENTS 7 POETS OF ISLAM 71 7.1 Ferdowsi, c.940-1020 . 71 7.2 Omar Khayyam, 1048-1131 . 73 7.3 Rumi, 1207-1273 .